Malladi Brothers at Asthika Samajam, Thiruvanmiyur;

coolkapali · Post by **coolkapali** » 21 May 2007, 11:48

Was late by half an hour:

The following Krithis were rendered after I made it:

- Smarane Sukhamu; Ragam: Janaranjani; ( N, S), excellent swara prasthana
- Parvatha Raja Kumari- Shri Ranjani-Adi-( R, S), was interesting to note the shruthi set to Madhyamam mode, as this raga is without Panchamam.
- Thelisithe Mokshamu- Hamsanadam-Roopakam-Annamacharya Krithi- tuned by Shri Nedunuri - ( R, N, S)
- Shri Balasubramania- Bilahari- Misra Chappu
- Rama Bana- Saveri-Adi(2)- (R, N, S); Neraval at Thammudu badalina; 16mins Ragam by the elder brother and 7mins by Violinist.
- Adum Chidambaramo- Behak- Adi
-Govinda Sundara Mohana- Dwijavanthi- Bhadrachala Ramdas?-
- Moli???-Khamas-Composer???
-Mangalam ( Dont remember the Sahithyam)

The accompanists were:
Violin: Shreeram Parasuram ( Played well without any hindrance to the vocalists)
Mridangam: Shri Guruvayoor Dorai
Kanjira: Sundar Kumar(???)

The tani was enjoyable.

I must thank Ram, as it is from his blog that I got this info abt the concert. Pls keep posting that on ur blog Ram.

rajeshnat · Post by **rajeshnat** » 21 May 2007, 13:32

coolkapali wrote:- Thelisithe Mokshamu- Hamsanandhi-Roopakam-Annamacharya Krithi- tuned by Shri Nedunuri - ( R, N, S)

I have heard them singing in hamsanAdham not hamsAnandi

bhaktha · Post by **bhaktha** » 21 May 2007, 14:17

coolkapali wrote:- Parvatha Raja Kumari- Shri Ranjani-Adi-( R, S), was interesting to note the shruthi set to Madhyamam mode, as this raga is without Panchamam.

Quite a common practice to set madhyamam when singing ragams like sriranjani, vasantha etc. It facilitates better sruti suddham while staying on the madyamam for long during the alapanai.
-bhaktha

coolkapali · Post by **coolkapali** » 21 May 2007, 14:39

rajeshnat wrote:
coolkapali wrote:- Thelisithe Mokshamu- Hamsanandhi-Roopakam-Annamacharya Krithi- tuned by Shri Nedunuri - ( R, N, S)
I have heard them singing in hamsanAdham not hamsAnandi

oops......have made that change.

Lakshman · Post by **Lakshman** » 21 May 2007, 17:07

gOvinda sundara mOhana is by Bhadrachalam Ramdas.
mODi jEsevElarA (khamAs) is by Pattabhiramiah.

kalgada78 · Post by **kalgada78** » 21 May 2007, 18:06

bhaktha wrote:
coolkapali wrote:- Parvatha Raja Kumari- Shri Ranjani-Adi-( R, S), was interesting to note the shruthi set to Madhyamam mode, as this raga is without Panchamam.
Quite a common practice to set madhyamam when singing ragams like sriranjani, vasantha etc. It facilitates better sruti suddham while staying on the madyamam for long during the alapanai.
-bhaktha

But this will change the grAmam to Madhyamam.It's always better to sing without Pa & Ma for such rAgas,just like how we do for Ragas like Ranjani.

Sarma.

arunk · Post by **arunk** » 21 May 2007, 19:47

I humbly disagree. Just because tampura sruthi is set to madyamam does not mean that the tonic/grama is changed. It still depends on the melodic structure of the song and thus is entirely dependent pitch in which you sing sa in the song (so here you can sing sa such that the ma matches the madhyama sruthi).

Although I am not an expert, for the one kuntalavarali song i know (which of course has s, ma and pa but ma being quite prominent), i find it a bit easier if the sruthi-box is set to madyama sruthi. I still sing it in the same base sruthi (1.5 kattai)

Arun

kalgada78 · Post by **kalgada78** » 21 May 2007, 20:25

I humbly disagree. Just because tampura sruthi is set to madyamam does not mean that the tonic/grama is changed.

This is how many people sing.But when you change the sruti to Madhyama Sruti,it automatically changes the grAmam.It has become a habit to sing in Shadja grAma,tuning the sruti to Madhyamam.Iam not qualified to say it is wrong.But this would obviously lead to confusion sometimes.

Sarma.

arunk · Post by **arunk** » 21 May 2007, 20:41

Sarma,

my point is that technically the tampura sruthi is only a guide to the singer for overall sruthi suddham for the song. Hence changing it does not change the sruthi of the song itself. IMO that is only dependent on how the song is sung itself.

However, i agree that if the tampura sruthi is set to a different pitch than sa, it can indeed lead to confusion. But that is not because the sruthi of the song is changed - just that the external reference point is not the usual sa . Hence it can only work if it is set to certain swaras (i think/guess only ma) and that too only in some ragas.

Arun

bhaktha · Post by **bhaktha** » 21 May 2007, 22:23

arunk wrote:Although I am not an expert, for the one kuntalavarali song i know (which of course has s, ma and pa but ma being quite prominent), i find it a bit easier if the sruthi-box is set to madyama sruthi. I still sing it in the same base sruthi (1.5 kattai)

Arun

This is what I meant. It becomes easier to sing if the madyamam is invoked for such ragams
-bhaktha

kalgada78 · Post by **kalgada78** » 23 May 2007, 06:12

arunk wrote:Sarma,

my point is that technically the tampura sruthi is only a guide to the singer for overall sruthi suddham for the song. Hence changing it does not change the sruthi of the song itself. IMO that is only dependent on how the song is sung itself.

However, i agree that if the tampura sruthi is set to a different pitch than sa, it can indeed lead to confusion. But that is not because the sruthi of the song is changed - just that the external reference point is not the usual sa . Hence it can only work if it is set to certain swaras (i think/guess only ma) and that too only in some ragas.

Arun

Sorry,looked at it lately.
Arun,
Not for the argument sake,but if there is no Tambura,then what is Sa,what is Pa?You have to have a reference,right?